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Journal articles on the topic 'Cinéma beur'
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1
Stillman, Dinah Assouline. "Cinéma Beur Comes into Its Own." Review of Middle East Studies 42, no. 1-2 (2008): 71–77. http://dx.doi.org/10.1017/s0026318400051543.
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Dhoukar, Hédi. "Quels «beurs», quel cinéma ?" Hommes et Migrations 1170, no. 1 (1993): 14–18. http://dx.doi.org/10.3406/homig.1993.2101.
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LEVINE, ALISON J. MURRAY. "Mapping Beur Cinema in the New Millennium." Journal of Film and Video 60, no. 3-4 (October 1, 2008): 42–59. http://dx.doi.org/10.2307/20688601.
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Fuica, Beatriz Tadeo. "The Foundational Manifesto of New Argentine Cinema? Israel Adrián Caetanos ‘Agustín Tosco Propaganda‘ (1995)." Film Studies 16, no. 1 (2017): 89–93. http://dx.doi.org/10.7227/fs.16.0007.
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Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have made reference to this seminal text. Being aware of the principles set in this manifesto more than twenty years ago will help researchers and students understand some important features that tend to be overlooked when exploring not only Argentinean cinema, but also many other cinemas of the region.
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Murray Levine, Alison J. "Mapping Beur Cinema in the New Millennium." Journal of Film and Video 60, no. 3-4 (2008): 42–59. http://dx.doi.org/10.1353/jfv.0.0010.
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GOLDMANN., J. "TAXATION OF TOBACCO, BEER AND CINEMA ATTENDANCES." Bulletin of the Oxford University Institute of Economics & Statistics 5, no. 2 (May 1, 2009): 35–39. http://dx.doi.org/10.1111/j.1468-0084.1943.mp5002003.x.
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Zhabskiy, Mikhail I. "The Demand for Russian Cinema." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 8–21. http://dx.doi.org/10.17816/vgik928-21.
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The article proposes a conceptual model representing the sociodynamics of the Russian audiences demand for national films. The problem of its deliberate regulation based on the statistic data is examined. Statistic data bear sociological evidence of such demand.
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Tarr, C. "Questions of identity in Beur cinema: from Tea in the Harem to Cheb." Screen 34, no. 4 (December 1, 1993): 321–42. http://dx.doi.org/10.1093/screen/34.4.321.
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Tri Astuti, Wulan, Faruk Faruk, and Budi Irawanto. "Understanding the Mandatory Language Policy for Immigrants and the Impact on Beur Cinema in France." Policy & Governance Review 5, no. 3 (August 8, 2021): 260. http://dx.doi.org/10.30589/pgr.v5i3.460.
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This article seeks to fill gaps in the literature regarding French cinema's treatment of immigration. Previous investigations of this theme have tended to position immigrants as objects, individuals perceived as creating problems, and as individuals using violence to resolve issues. This article highlighted in French films under a new genre, Beur Cinema, notably in the film Fatima This research discusses French cinema's depiction of immigrants' experiences with cultural negotiation mainly related to the French government's policy of Language Mandatory as one of the requirements for migrants to be granted citizenship. This article will also discuss the portrayal of the French government’s policy toward immigrants and how immigrants cope with the barriers and offer solutions to the problems in Beur cinema. The film Fatima, which was first published in 2015, will be analyzed by its cinematographic signs using the theory of cinematographic semiotics. This study finds that what has been understood as the cause of the lack of integration of immigrants is mainly that the residence permit is not justified. This research finds that the challenges of immigrants are also represented by difficulties in adapting to language skills, daily life routines, raising children, and even communicating with their diaspora community and the local residents.
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Williams, J. S. "Post-Beur Cinema: North African Emigre and Maghrebi-French Filmmaking in France since 2000." French Studies 68, no. 3 (July 1, 2014): 442. http://dx.doi.org/10.1093/fs/knu128.
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Heczková, Libuše, and Kateřina Svatoňová. "Pivo v českém filmu : formální a sémantická analýza." Studia historica Brunensia, no. 2 (2023): 107–16. http://dx.doi.org/10.5817/shb2023-2-8.
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The text shows how beer was depicted in selected Czech films (Adéla ještě nevečeřela [Adela Has Not Had Her Supper Yet], Postřižiny [Cutting It Short], Schmitke [Schmitke], Díra u Hanušovic [Nowhere in Moravia] and Mistři [Champions]). It focuses on the role of beer and the cinematic means used to portray it. The formal analysis of beer scenes allows us to follow the less obvious construction of the communicated content of individual films and trace their affectivity and effect on the human senses. Since beer is perceived as the Czech national drink, the analysis also reveals the approaches of filmmakers to the image of Czech identity, which have changed significantly over time (and the official direction of cinema).
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Xu, Hai Hua, Li Ping Liu, and Bai Chuan Liu. "Analysis and Design of the Cloud System of Inner Mongolia National Cinema Line." Advanced Materials Research 1014 (July 2014): 379–82. http://dx.doi.org/10.4028/www.scientific.net/amr.1014.379.
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To make the inner Mongolia National cinema line company to expand the low-cost movie channel benefitting civilian, take better advantage of the company's movie integration and issue, bear the spread and services of films in the whole inner Mongolia Autonomous Region, in this paper, we design and implement the cloud system of inner Mongolia National cinema line, take intelligent digital television operating system under the cloud technique as carrying and transmission tool, broadcast a front-end frequency point through the cable digital television network in the total region, broadcast the digital and cultural content, such as high-definition movies, digital books, party member education , technical training, newspapers, magazines, government information and convenience information, to each neighborhood and community, all levels of schools, factories and business units in the whole region, build the cloud cinema of multi-functional digital cinema hall whose contents are unified, with truly unified management, unified propaganda, unified arranging videos, service on demand, promote the industrial development of national digital culture industry, expand new channels of the national film show, serve the overwhelming majority of community residents.
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Sadhana, Paroma. "Contours of Cinema Theatres and Bombay City." Journal of Heritage Management 2, no. 2 (December 2017): 112–24. http://dx.doi.org/10.1177/2455929617734933.
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Bombay cannot be divorced from Bollywood, its medusa-like industry. While the relationship between the city of Bombay and the cinema it produces has been much talked about, this article seeks to look at the history of single-screen cinema theatres that are testimony to the urban history of Bombay. They are the receptacle in which cinema meets its audience. Within the darkened space of the theatre, a heterogeneous audience meets for a homogenous activity—to consume cinema. On the outside, their façades bear the marks of a city’s growth—be it Art-Deco theatres like Liberty, or warehouse structures like Chandan. Their unique style also becomes a geographical marker for the city’s public to navigate their way—countless bus stops and lanes are named after theatres, and a quick chat with the city’s slightly older residents will reveal how they identify neighbourhoods with theatres. This article traces the history of theatres and entertainment in Bombay (from the 1850s) vis-à-vis the city’s urban history. The contention is that as the city grew upwards from its southern tip, expanding in girth, so did the cinema theatres multiply situating themselves along the south-north running railway lines. Thus, to understand the urban growth of Bombay, a unique lens is exploring the history of cinema theatres. In understanding this, the article will highlight the importance of single-screen cinema theatres, and the reason why their sites and spaces need to be preserved.
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Bissière, Michèle. "Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France since 2000 by Will Higbee." French Review 88, no. 1 (2014): 207–8. http://dx.doi.org/10.1353/tfr.2014.0125.
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Bloom, Peter. "Beur Cinema and the Politics of Location: French Immigration Politics and the Naming of a Film Movement." Social Identities 5, no. 4 (December 1999): 469–87. http://dx.doi.org/10.1080/13504639951446.
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Benbouazza, Mouna. "Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmakers in France since 2000 by Will Higbee." French Forum 42, no. 2 (2017): 329–31. http://dx.doi.org/10.1353/frf.2017.0032.
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Novokhatko, Leonid, and Valeriia Snopkova. "KEY TENDENCIES AND ACHIEVEMENTS BRAND OF UKRAINIAN CINEMA AFTER A FULL-SCALE RUSSIAN INVASION." Integrated communications 16, no. 2 (2023): 83–88. http://dx.doi.org/10.28925/2524-2644.2023.1610.
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The article examines key trends and achievements of the Ukrainian film brand after the full-scale Russian invasion. The realities of promoting the Ukrainian film brand involve festival engagement and representation of Ukrainian perspectives on international platforms. In Ukraine, a unique cinematic brand is actively developing. Each year sees the creation of new initiatives dedicated to promoting Ukrainian cinema, introducing new talents to the industry. Ukrainian cinema reflects values shaped throughout history, such as resilience, independence, innovation, cultural self-identification, and authorship. The research employs problem-solving, systemic, and content analysis methods, along with descriptive, observational, and analytical approaches. Sociological research, expert assessments, and festival monitoring are also utilized. A crucial aspect is identifying the target audience, consisting of diverse groups showing interest in various aspects of the film industry, requiring interaction and adaptation of promotional strategies. Successes in Ukrainian cinema, exemplified by the box office success of films like «Mavka» and «Dovbush,» offer hope for a change in audience perception and the attainment of canonical status. Comprehensive support for Ukrainian cinema in international film institutions and organizations is of utmost importance. The attentive focus and interest in Ukrainian cinema during the 2023 Berlinale indicate a shift in global attitudes. Ukraine successfully utilized the festival platform to showcase its cinema and demonstrate solidarity in the context of Russian aggression. The new image of Ukraine at the Berlinale is marked by a symbolic change in the colors of the Berlinale bear to the colors of the Ukrainian flag. However, state support and effective development mechanisms are necessary to overcome challenges and enhance the influence of Ukrainian cinema on the global stage.
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Orlando, Valérie. "From Rap to Raï in the Mixing Bowl: Beur Hip-Hop Culture and Banlieue Cinema in Urban France." Journal of Popular Culture 36, no. 3 (January 2003): 395–415. http://dx.doi.org/10.1111/1540-5931.00013.
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Zanatto, Rafael Morato. "Os álcoois no cinema (1904-1933)." Revista Ingesta 1, no. 2 (November 29, 2019): 6–25. http://dx.doi.org/10.11606/issn.2596-3147.v1i2p6-25.
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O presente artigo analisa a representação dos álcoois no cinema em relação ao avanço do discurso proibicionista comprometido em transformar o consumo de álcool em patologia. Veremos como, a partir do início do século XX, cineastas como o francês Ferdinand Zecca e o estadunidense D.W. Griffith adotaram em seus filmes um discurso moralizante que visava amedrontar a classe trabalhadora ao propagar os perigos do consumo abusivo de álcool. Posteriormente, o tema será tratado satiricamente por cômicos como Charles Chaplin e Roscoe Fatty Arbuckle, ao representarem o alcoolismo das classes mais abastadas dois anos antes da promulgação da Lei Seca (1919). Por último, compreenderemos como nos primeiros anos da década de 1930 os desdobramentos da Lei Seca (1933) serão tratados no cinema não apenas pelos filmes de gângsteres, mas também em comédias como What! No Beer? (1933), no qual Buster Keaton e Jimmy Durante protagonizam uma dupla de ativistas e empreendedores do ramo de bebidas, um mês antes da revogação da lei. Em conjunto, pretendemos demonstrar como o cinema pode ser considerado uma excelente fonte de pesquisa para o estudo dos discursos proibicionistas e antiproibicionistas em épocas e contextos específicos, dos quais esses filmes são ao mesmo tempo expressão social, entretenimento e propaganda.
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Golovnev, Ivan Andreevich, and Elena Valentinovna Golovneva. "IMAGE OF THE SHAMAN IN ETHNOGRAPHIC CINEMA (ON THE MATERIAL OF THE FILM “OLD MAN PETER”)." Yearbook of Finno-Ugric Studies 16, no. 2 (June 27, 2022): 316–27. http://dx.doi.org/10.35634/2224-9443-2022-16-2-316-327.
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The article considers ethnographic cinema as a form of visual representation of religious phenomena (manifestations of shamanism) among the Ob Ugrians. The authors argue that ethnographic films are of particular value for the study of indigenous shamanism. They demonstrate not only ritual practice and rites, but the ordinary, non-ritual side of the life of shamans as well as combine research and cinematic approaches. As a case study, the documentary "Old Man Peter", shot by filmmaker I. A. Golovnev in 2004-2008 in the Ob North, in the places of residence of the Kazym Khanty, is considered. Based on the experience gained during the filmmaking in the place of the Kazym River, the diary of the author of the film and scientific literature, the authors reconstruct the cult practices of the Kazym Khanty (veneration of nature spirits, Bear cult, Bear Festival) that exist in modern Khanty culture as rudiments. The main themes and plots related to the formation of the cinematic image of the Khanty shaman Petr Sengepov, the leader of the local community is considered. Authors came to the conclusion that modern ethnographic films that represent shamanism not as splendiferous, but as a personal phenomenon, are an effective tool for the "cultural revitalization" of local communities. Visualization of shamanism in ethnographic cinema allows to capture the characteristics of the worldview of indigenous peoples.
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Schaber, Bennet. "Little cinemas: Eugene O’Neill as screenwriter." Journal of Screenwriting 13, no. 1 (April 1, 2022): 39–64. http://dx.doi.org/10.1386/josc_00082_1.
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In November of 1926, Eugene O’Neill (1888‐1953) wrote photoplays of two of his most successful and ambitious dramas of the 1920s, The Hairy Ape (1922) and Desire under the Elms (1924). O’Neill was motivated in part by the journalist and screenwriter Ralph Block’s promotion of the ‘little cinema’ movement, the prestige model of authorship that accompanied it as well as the movement’s actual momentum in New York in the late 1920s. Thus, optimism about the growth of an increasingly sophisticated audience as well as accounts of the innovative possibilities for film form promoted by the likes of Block and Victor O. Freeburg seem to have encouraged O’Neill to imagine a potential cinema in harmony with his own commitments to experimentalism and aesthetic autonomy. Although neither photoplay was ever produced, both bear the traces of O’Neill’s attentiveness to contemporary, intermedial theories of film and drama as well as the playwright’s own history of film viewing.
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Mitroiu, Simona. "Challenging the Roma Structural Discrimination: Deterritorialization Practices in Romanian Cinema." Metacritic Journal for Comparative Studies and Theory 7, no. 2 (December 17, 2021): 46–68. http://dx.doi.org/10.24193/mjcst.2021.12.03.
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This paper examines the cinematographic reworking of memory spaces associated with power relations and structural injustice. The way in which space is represented and used as a medium that reflects power relations allows to question the space itself in cultural productions from Central-Eastern Europe when associated with Romani people (space and power relations, memory of slavery and discrimination, space and freedom, territoriality, space and its inhabitants, non-belonging, segregation, etc.). The paper focuses on motion pictures produced in the last decade in Romania, a prolific period due to the increasing interest for memory activism and to the multiplication of the cultural exploration of challenging topics. It aims to identify narrative, visual, and aesthetic expressions used as deterritorialization practices to stimulate relational remembrance and engagement with ongoing social inequality and structural injustice. Two short films – Alina Șerban’ s Bilet de iertare (Letter of forgiveness) and Adrian Silișteanu’s Scris/Nescris (Written/Unwritten) – and a western type film – Radu Jude’s Aferim!, winner of the Silver Bear for Best director at Berlinale in 2015, are analysed here.
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Chambers, Iain, and Marta Cariello. "At History's Edge: The Mediterranean Question." New Formations 106, no. 106 (August 24, 2022): 6–24. http://dx.doi.org/10.3898/newf:106.01.2022.
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This essay seeks to puncture prevalent European understandings of the Mediterranean. The colonising impulse inscribed in Occidental historiography cannot be undone simply by adding previously repressed and unacknowledged histories. Instead, a re-examination of the premises and procedures that produced such exclusions leads to a change in coordinates. A predominantly ocular order of knowledge that creates subaltern objects of study to reconfirm European centrality and subjectivity is interrogated. Insisting on a politics of registration and listening, further critical incentives drawn from literature, music and cinema are deployed to query existing representations. In conclusion, a more exposed, heterogeneous and turbulent Mediterranean is brought to bear on how today we might think with the Balkans.
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Blatter, Jeremy. "Screening the Psychological Laboratory: Hugo Münsterberg, Psychotechnics, and the Cinema, 1892–1916." Science in Context 28, no. 1 (February 9, 2015): 53–76. http://dx.doi.org/10.1017/s0269889714000325.
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ArgumentAccording to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology.
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Walton, Saige. "Sleeping away the Factory, Healing with Time: Gaston Bachelard, the Poetic Imagination and Testről és lélekről/ On Body and Soul (2017)." Paragraph 43, no. 3 (November 2020): 348–63. http://dx.doi.org/10.3366/para.2020.0345.
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Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions (memory, perception). In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul (2017) — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the diversity of Bachelard's imagined images. Bringing Bachelard's instant, vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects.
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Moreton-Robinson, Aileen, Maggie Walter, and David Singh. "Editorial." International Journal of Critical Indigenous Studies 5, no. 1 (January 1, 2012): 1. http://dx.doi.org/10.5204/ijcis.v5i1.91.
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The first two articles of this edition of the journal testify to the lengthening reach of the discipline of Critical Indigenous Studies that is, remarkably, still in its nascence. Emiel Martens examines the development of Maori filmmaking since the 1980s and takes the opportunity to explore this Indigenous cinema in the context of developments in the New Zealand film industry generally. Shifting from cultural production to renewable energy, Steven M. Hoffman and Thibault Martin remind us that in the effort to satiate the demands for energy, it is often Indigenous peoples who bear adverse consequences. Using a social capital framework, the authors examine the impact of the development of hydroelectric power upon a displaced Aboriginal community and conclude that displacement has resulted in an erosion of cohesive social bonds that once ensured a sustainable way of life
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Pons, Ventura. "THE REASON BEHIND FOOD OF LOVE: SOME COMMENTS ABOUT BRINGING, THROUGH MY CATALAN EYES AND A GROUP OF EXCEPTIONAL BRITISH ACTORS, AN AMERICAN NOVEL TO THE SCREEN." Catalan Review 18, no. 1-2 (January 1, 2004): 237–48. http://dx.doi.org/10.3828/catr.18.1-2.17.
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Ventura Pons, arguably the most important film director in the Catalan language (and one of the most important directors in European cinema in general), provides an intimate look into the inspiration, conceptualization, and realization of Food of Love. Besides being one of the director’s rare ventures into the English language, Food of Love is also, as is often the case with Pons, an adaptation of a prior literary work, here David Leavitt’s The Page Turner. Struck by the force of a story of love, sex, and ambition among men, Ventura Pons grapples with questions that go beyond the gay U.S. context in which the story is originally set and that bear on some of the more affective aspects of the interaction of people in the so-called Western world: questions of personal integrity and fulfillment, of desire and disillusionment, of “sentimental education” and family ties.
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Kartal, Onur. "Zombių lavonų biopolitika: kolektyviškumas, užkratas, kitybė." Problemos 104 (October 18, 2023): 104–18. http://dx.doi.org/10.15388/problemos.2023.104.8.
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Inasmuch as the society is considered as a body today, social problems should be defined accordingly, as problems of hygiene and cleanliness. In this regard, various representations of zombie corpses in zombie movies can be conceived as concrete examples of threat and a perception of disease. In this article, I claim that the zombie figures in cinema bear a positive potential for the social life of humanity, and I will define this potential as a new opportunity for meeting the absolute alterity. Within this context, I analyse 28 Weeks Later and The World War Z and The Girl with All the Gifts to put forth the idea that what enables emancipation of humanity is contagion and alterity. Rather than destroying the capitalist rationalization without offering any alternatives, zombie corpses enounce the birth of a new form of social life as analysed through Pride and Prejudice and Zombies.
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Lusvarghi, Luiza. "Law, Urban Violence and Order: Cop Shows as a Brazilian TV Genre." CINEJ Cinema Journal 3, no. 1 (April 8, 2014): 107–25. http://dx.doi.org/10.5195/cinej.2013.83.
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A new type of Brazilian drama series has taken place on local TV - the cop shows. Although they are not popular as the telenovela (soap operas), definitively they came to stay. International channels like Fox and HBO are benefited by Tax Benefits Rule which provides financial conditions for the production of those home market, and are now competing with the two greatest media Brazilian groups – Record and Globo. The worldwide success of “Cidade de Deus” (City of God, 2002, Fernando Meirelles), released abroad like a gangster movie, and “Tropa de Elite” (Elite Squad, 2005, Jose Padilha), Berlin Golden Bear Award 2008, which sequel “Elit Squad: The Enemy Within” (2010) became the biggest box office record of Brazilian Cinema, could be partially contributed to motivate that new kind of production, which mix up social exclusion, urban violence with the very known old formulas of American serials, as the franchise “Law and Order” and its various spin-offs.
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Othman, Mohd Saiful, and Nor Azwahanum Nor Shaid. "ISSUES AND CHALLENGES FACED BY CHINESE TEACHERS IN TEACHING THE MALAY LANGUAGE AT SEKOLAH JENIS KEBANGSAAN CINA." International Journal of Humanities, Philosophy and Language 4, no. 16 (December 5, 2021): 01–15. http://dx.doi.org/10.35631/ijhpl.416001.
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This concept paper discusses the issues and challenges faced by Chinese teachers in teaching the Malay language at Sekolah Jenis Kebangsaan Cina (SJKC). In accordance with the functionality of the Malay language as the national language, the Malay language should not only be mastered by the Malays but for all races in Malaysia. Good command of the Malay language can foster the self-esteem of every citizen in this country. The Malay language is also a compulsory subject that should be studied by every student, including students at SJKC. Teaching the Malay Language by Chinese teachers in SJKC is not an easy job because Chinese students are not native speakers of the Malay language. It is much different from their native language, the Malay language is only used by Chinese students during lessons and they seldom use it in their daily life. Chinese students are lack interest in learning the Malay language because it seems that learning the Malay language is very difficult for them. Therefore, the Chinese students’ achievement in the Malay language is still not satisfactory. Thus, the main focus of this concept paper is to analyse the issues and challenges faced by Chinese teachers in teaching the Malay language. These challenges make it difficult for teachers in ensuring satisfactory achievement among pupils. Various methods should be taken to improve the quality of teaching the Malays language in SJKC and thus to produce Chinese students who are fluent in speaking the Malay language. Therefore, the Chinese teachers who teach the Malay language in SJKC have to bear this responsibility by taking various initiatives to enhance the achievement of Chinese students in Malay language learning. Through this concept paper, it is hoped to reveal the issue of teaching the Malay language by Chinese teachers in SJKC to various parties.
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CASADO-GUAL, NÚRIA. "Unexpected turns in lifelong sentimental journeys: redefining love, memory and old age through Alice Munro's ‘The Bear Came Over the Mountain’ and its film adaptation, Away from Her." Ageing and Society 35, no. 2 (November 18, 2013): 389–404. http://dx.doi.org/10.1017/s0144686x13000780.
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ABSTRACTAlice Munro's 2001 short story ‘The Bear Came Over the Mountain’ and its 2006 film version, Away from Her, directed and adapted for the screen by Sarah Polley, are two interconnected narratives through which diverse (and even divergent) representations of romantic love and memory in later life can be analysed. Even if the two texts are constructed on an apparently simple plot line, which basically depicts the last phase of a 44-year-long marriage once the wife, Fiona, presents symptoms of dementia and is interned in a retirement home, they both allow for, at least, two contrasted interpretations. As will be demonstrated, these two possible readings unveil different cultural, social and psychological facets of memory in connection with late-life expressions of love; and each of them contributes, in their own way, to the construction of a dialogical narrative that mediates between the complexities of old age, dementia and gender difference, while at the same time demonstrating the power of literature and the cinema to reflect and refract the complexities of contemporary forms of ageing.
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Beloedova, Anna V., and Evgeny A. Kozhemyakin. "Multimodal Communication in the Focus of Research Reflection: A Problem-Oriented Approach." Critique and Semiotics 10, no. 2 (2022): 54–70. http://dx.doi.org/10.25205/2307-1737-2022-2-54-70.
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The paper discusses the problem-oriented approach to the multimodal communication as it is expounded by John Bateman, Janina Wildfeuer and Tuomo Hiippala. The authors claim for the productivity of the approach to the analysis of the contemporary informational communicational system in terms of developing media, i.e. smart- phones, computer games, 3D cinema, VR and AR technologies, etc., which are multimodal by their nature and use. The basic notions associated with multimodality include mode, communication situation, ergodic text with its features of mutability and temporality. The main characteristics of communication situations as an item of the multimodal analysis is the source of information, recipients, conditions of communication and its duration. While interacting, the communication situations bear linear, micro-ergodic, non-mutable ergodic and mutable ergodic types depending on the prevailing way of perception. The authors claim that the most representative results of research of “vague” and unpredictable multimodal objects could be gained by the mixt of quantitative and qualitative methods, including corpus analysis, eye-tracking technics, and computing methods.
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Feinstein, Joshua. "Constructing the Mythic Present in the East German Cinema: Frank Beyer's Spur der Steine and the 11th Plenum of 1965." Central European History 32, no. 2 (June 1999): 203–20. http://dx.doi.org/10.1017/s0008938900020902.
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Spurder Steine (Trail of Stones) is probably the best-known of the approximately two dozen East German films that were banned by state officials. Combining epic proportions with subversive humor, the picture still retains the ability to fascinate and amuse audiences well over three decades after its completion in 1966. In one scene, its most arresting protagonist, the foreman Balla, leads his small band of carpenters across the Iunar landscape of the chemical plant under construction, where the film is set. As martial music blares in the background, the “Ballas,” conspicuously dressed in the black corduroy suits traditionally associated with their trade in Germany, march against a sea of humanity streaming toward a political rally. They rudely shove people out of their way, grope women, and chug beer. Over a loudspeaker, the Communist functionary leading the rally proclaims, “We are already building the road leading into a bright future.” In response, Balla remarks to his cronies, “They comfort you with the future like the priests with the hereafter, but by the time you get there, you're already dead.”
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Moller, Hermann, Érica A. Taguti, Luis C. S. Amorim, Matheus M. D. Pinto, and Sergio A. De Bortoli. "Desenvolvimento de Ceraeochrysa cincta (Schneider, 1851) (Neuroptera: Chrysopidae) alimentada com dieta artificial na fase larval." Entomological Communications 2 (October 30, 2020): ec02027. http://dx.doi.org/10.37486/2675-1305.ec02027.
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Abstract. Mass production of lacewings is still a bottleneck for applied biological control and for biofactories producing natural enemies, due to the difficulties of large-scale production and the cost of the undertaking and the production of their alternative prey. Thus, the objective of this work was to evaluate the viability of an alternative artificial diet to rearing of Ceraeochrysa cincta (Schneider, 1851) (Neuroptera: Chrysopidae). Three treatments were analyzed for this purpose, consisting of: 1) natural diet - eggs of Corcyra cephalonica (Stainton, 1866) (Lepidoptera: Pyralidae), 2) artificial diet honey + beer yeast (1:1) and 3) natural diet (1) + artificial diet (2), and were offered to the larval stage of the predator. The biological parameters of C. cincta evaluated where: duration of larval, pupal and adult phases; pupal weight; pupal viability; sex ratio; pre-oviposition and oviposition periods and number of eggs per female. Were obtained adults only in the treatments 1 and 3 and, in the treatment 2 no insect reached the pupal stage. The results obtained demonstrated that the artificial diet, when offered in isolation, causes significant differences in the duration of the larval period, especially in the 3rd instar, and in the weight of the pupae, with the other similar parameters in the treatments, but can serve as a nutritional supplement.
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Szymala, Jacek, and Andrei Rogatchevski. "Filmowe portrety Stanisława Siedleckiego (1912–2002) na tle Svalbardu. Fragmenty wizualnej historii nauki." Kwartalnik Historii Nauki i Techniki, no. 3 (2021): 123–42. http://dx.doi.org/10.4467/0023589xkhnt.21.022.14183.
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Stanisław Siedlecki’s (1912–2002) Film Portraits against the Backdrop of Svalbard. Vignettes from the Visual History of Science The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, with a particular emphasis on film history. The connections between Siedlecki’s life and the cinema can be grouped in three sections: 1. films starring Siedlecki, 2. films by Siedlecki and 3. films about Siedlecki. The film Do Ziemi Torella (To Torell Land) represents the pre-war period; the post-war period is marked by Siedlecki’s collaboration with Jarosław Brzozowcki on the making of Skroplone Powietrze (Liquefied Air) and Wieliczka – both from 1946. In the International Geophysical Year 1957/1958, Siedlecki led the Polish polar expedition, during which the visual material was created. He appeared in all three ‘roles’ (as a co-writer, protagonist, and consultant) in Jarosław Brzozowski’s film W Zatoce Białych Niedźwiedzi (In the Polar Bear Bay). He consulted polar films until the early 1990s. There are also two film biographies (portraits) of Siedlecki by Wanda Rollna and Iwona Bartólewska. The analysis of this material has also shed new light on the visual narration of the Polish polar expeditions in the 20th century.
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Berghahn, Daniela. "Encounters with cultural difference." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 16–40. http://dx.doi.org/10.33178/alpha.14.01.
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This essay aims to critically reassess and, ultimately, rehabilitate exoticism, understood as a particular mode of cultural representation and a highly contested discourse on cultural difference, by bringing it into dialogue with cosmopolitanism. It offers a theoretical exploration of exoticism and cosmopolitanism alongside associated critical frameworks, such as the contact zone, autoethnography, authenticity and cultural translation, and brings them to bear on two awardwinning films that aptly illustrate a new type of exoticism in contemporary world cinema. Using Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015), both made in collaboration with Indigenous communities, as case studies, this essay proposes that exoticism is inflected by cosmopolitan, rather than colonial and imperialist, sensibilities. It therefore differs profoundly from its precursors, which are premised on white supremacist assumptions about the Other which legitimised colonial expansion and the subjugation of the subaltern. By contrast, the new type of exoticism challenges and decentres Western values and systems of knowledge and aligns itself with the ethico-political agendas of cosmopolitanism, notably the promotion of crosscultural dialogue, an ecological awareness and the empowerment of hitherto marginalised communities.
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Zavaleta Balarezo, Jorge. "Imágenes de sobrevivencia: del realismo urbano del Grupo Chaski al Perú contemporáneo de Claudia Llosa." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 143–68. http://dx.doi.org/10.5195/ct/2017.245.
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The article analyzes the first films of the Grupo Chaski and Claudia Llosa, two strong references in the Peruvian cinema of the last thirty years. Through the critique of the ideas and characteristics of these movies, the essay tries to build a image of Peru, a country where democracy returned in 1980 and since then he has had presidents accused of corruption and abuse of power such as Alan García, Alberto Fujimori, Alejandro Toledo and Ollanta Humala. The works of Chaski focus on poverty and vulnerability of children in Lima, a big city, capital of the country, in the 1980s. In this sense, they are previous stories to “cine de la marginalidad” that in the 1990s featured movies so realistic like Pizza, birra, faso, La vendedora de rosas, Ciudad de Dios or Ratas, ratones, rateros. Claudia Llosa´s work, called international attention when her second film, La teta asustada, won the Golden Bear, the main prize at Berlin Festival. This film, that establishes a necessary continuity to her first film, Madeinusa, is a portrait of the postwar years in the Peruvian Andes, those of the violence of Sendero Luminoso and how the Army designed a destructive strategy. The article looks for an overview of Peruvian society of the last thirty years, characterized for the structural poverty, terrorism, the development of neoliberal reforms and the corruption of the State at different levels.
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King, Homay. "The Shanghai Gesture." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 06 (June 5, 2008): 1–23. http://dx.doi.org/10.2218/forum.06.592.
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Many classical films noirs rely upon Orientalist elements of mise-en-scène to convey a sense of enigma or unintelligibility. This article gives a name to this visual trope, “the Shanghai gesture,” and describes how Asian objects in Hollywood cinema have come to be associated with the irrational. In The Maltese Falcon (Huston, 1941) and The Big Sleep (Hawks, 1946), elements of Orientalist décor function to evoke a sense of mystery or exoticism. In many cases, these elements are little more than exoticist set-dressing. However, in some cases they come to bear the burden of explanation for unresolved aspects of the plot, or even to suggest a limit-point of western rationality. This article concludes with a discussion of The Shanghai Gesture (Sternberg, 1941), addressing both mise-en-scène and the unique circumstances that surrounded its production. Based on a play by John Colton, the property was greatly sought after by all the major Hollywood studios, and rejected numerous times by the Hays Office for its “sordid” depictions of Shanghai bawdy-houses and casinos. Archival correspondence reveals that Hays and others linked the script’s sordidness to its Asian setting. Both a hot commodity and an object in need of censorship, The Shanghai Gesture itself became an over-determined Orientalist object, at once coveted and taboo, desirable and incomprehensible.
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Leduc, Daniel. "New free-living nematode species and records (Chromadorea: Plectida and Desmodorida) from the edge and axis of Kermadec Trench, Southwest Pacific Ocean." PeerJ 9 (September 24, 2021): e12037. http://dx.doi.org/10.7717/peerj.12037.
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One new nematode species is described and two new species records are provided from the edge (6,080 m depth) and axis (7,132 m) of Kermadec Trench, Southwest Pacific. Leptolaimus hadalis sp. nov. is characterised by medium body 587–741 μm long, labial region not offset from body contour, inconspicuous labial sensilla, amphid located 12–19 μm from anterior end, female without supplements, male with four tubular precloacal supplements (alveolar supplements absent), tubular supplements almost straight with dentate tip, arcuate spicules and weakly cuticularized dorsal gubernacular apophyses strongly bent distally. In a previously published ecological survey of Kermadec Trench, L. hadalis sp. nov. was the most abundant species in a core obtained at 8,079 m water depth and third most abundant species in a core obtained at 7,132 m, while only one individual was found at 6,096 m depth, and none at 9,175 m depth (Leduc & Rowden, 2018). Alaimella aff. cincta and Desmodora aff. pilosa are recorded for the first time from the Southwest Pacific region. Prior to the present study, Alaimella had only been recorded from coastal locations and from the Weddell sea to a depth of 2,000 m. The record of Desmodora aff. pilosa at 6,080 m depth is the deepest record of a Desmodora species to date, although unidentified Desmodora specimens have been found as deep as 6,300 m in the South Sandwich Trench. The morphology of the Kermadec Trench Alaimella aff. cincta and Desmodora aff. pilosa specimens bear a strong resemblance to their respective type populations from the Northern Hemisphere, but further morphological and molecular data are required to ascertain whether they in fact represent distinct species.
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Hess, Linda M. "Filmic Gold: The Elemental Aesthetics of the Klondike Gold Rush in Bill Morrison’s Dawson City: Frozen Time (2016)." Zeitschrift für Anglistik und Amerikanistik 70, no. 1 (March 1, 2022): 89–105. http://dx.doi.org/10.1515/zaa-2022-2051.
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Abstract This contribution examines the elemental aesthetics of Bill Morrison’s documentary film Dawson City: Frozen Time (2016). The film traces connections between the birth of Dawson City as a boomtown of the Klondike Gold Rush in Yukon Territory in 1896 and the birth of cinema and the rise of the Hollywood movie industry, linking actual resource extraction (gold mining) to its discursive framing and mythologization (in Hollywood movies). Throughout the film, Morrison incorporates extracts of silent-film reels that were recovered from the permafrost below Dawson City in 1978 and that thus bear distinct marks of water damage that shape the aesthetic of Dawson City: Frozen Time. Through its comprehensive engagement of elemental materialities, Morrison’s film narrates the Klondike Gold Rush as a particular moment in the history of (North American) resource extraction. It invites analysis through the lenses of material and elemental ecocriticism, lenses that allow for understanding this moment within the vast network of profound transformations of the earth that have become known as the Anthropocene. The filmic composition itself prompts the audience to pay close attention to different elements—gold, earth, water, fire—that are crucially involved in both the Klondike Gold Rush and the film’s own history. Via this elemental focus, Morrison also creates a tension between the film’s elicitation of vicarious grief for the loss of the landscape and its evocation of irrevocable transformation as an ongoing process of human and elemental agency.
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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.
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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.
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Ravindran, Gopalan. "Rhetorical Bodies and Movement-Images in the 1949 Tamil Film Velaikari (House Maid)." Deleuze and Guattari Studies 12, no. 1 (February 2018): 45–65. http://dx.doi.org/10.3366/dlgs.2018.0295.
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The notion of ‘rhetorical bodies’ argues the cause of the rhetorical elements in the material and the material elements in the rhetorical in ways that can be seen as analogous to the bi-partite modes of Deleuzian film philosophy, ‘movement-image’ and ‘time-image’. Tamil films of the 1940s and 1950s bear the strong imprints of the rhetorical elements of the Self-Respect Movement and Dravidian Movement, which took root in different versions during the 1920s–60s. The narrative locations of the bodies (both male and female) in the Tamil films of the 1940s and 1950s provide interesting theoretical and analytical challenges if one seeks to combine the Deleuzian notions of ‘movement-image’ with the notions of material rhetorics. The coming together of these notions provides new pointers to the understanding of an important phase in the history of Tamil cinema for its implications on the long-running nexus between politics and films in the state of Tamil Nadu. The Deleuzian trajectory in film philosophy provides more than enough pointers to examine early Tamil cinema's attempts to construct ‘movement-images’ through rhetorical bodies. This paper seeks to examine the contexts of ‘movement-images’ and the role of ‘rhetorical bodies’ in constructing the same in Velaikari (1949), scripted by C. N. Annadurai. Popularly known as Aringnar Anna, C. N. Annadurai was the former Chief Minister of Tamil Nadu and the Founder of DMK (Dravida Munnetra Kazhakam), the party which unseated Congress from power in Tamil Nadu in 1967, and the state remains out of reach of the national parties ever since.
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Oster, Angela. "Moderne Mythographien und die Krise der Zivilisation." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 79–108. http://dx.doi.org/10.28937/1000107604.
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Im Verlauf seiner Rezeption hat der Medea-Mythos kontinuierlich einen wichtigen Stellenwert in der Reflexion des zivilisatorischen Krisenbewußtseins eingenommen. Dieser Prozeß kulminiert in der Moderne, innerhalb derer die Medea-Version von Pier Paolo Pasolini einen exzeptionellen Stellenwert einnimmt. Pasolinis umsichtige und vielschichtige Cinematopoetik kombiniert den antiken Mythos mit religionswissenschaftlichen Quellen und enttarnt dabei den Begriff des gesellschaftlich ›Natürlichen‹ als ideologische Setzung. Der Ideologie des vorgeblich Natürlichen setzt die pasolinische Medea eine ethnoästhetische Mythographie entgegen, die vor allem das Postulat des zivilisatorischen Fortschritts anzweifelt. Die Rehabilitierung des sakralen Mythos kann in der Moderne zwar nurmehr scheinhaft stattfinden. Doch ist es eben die Fiktion der Mythopoiesis, welche ihr in der modernen Welt einen (wenn auch imaginären) Sinnzusammenhang garantiert. In the history of its reception, the myth of Medea has always been of prime importance for reflections on an awareness of civilization crisis. This process culminates in the modern age, and especially so with Pier Paolo Pasolini’s exceptionally significant version of the Medea story. Pasolini’s far-seeing and complex poetics of cinema combines the ancient myth with sources drawn from the history of religions and thereby exposes the concept of social naturalness as ideologically posited. Against an ideology of the allegedly natural, his „Medea“ brings to bear an ethnoaesthetic mythography, which casts doubt on the postulate of the progress of civilization. To be sure, in the context of modernism, a rehabilitation of religious myth is impossible except in a mode of aesthetic illusion. But it is the fiction of ›mythopoiesis‹ which assures that such an enterprise can make sense, if only in an imaginary way.
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Silva, Alexandre Junior da, and Fabiano De Lima Nunes. "O S&OP COMO ESTRATÉGIA PARA MELHORIA DO NÍVEL DE SERVIÇO LOGÍSTICO EM UMA EMPRESA DE AUDIO PARA SALAS DE CINEMA DO BRASIL: UM ESTUDO DE CASO." Revista Tecnologia e Tendências 10, no. 1 (March 12, 2019): 150. http://dx.doi.org/10.25112/rtt.v10i1.1481.
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O setor cervejeiro tem por característica histórica ser dominado por poucas empresas, contudo, nas últimas décadas tem crescido o número de cervejarias artesanais compondo o mercado. No Brasil, atividades de produção industrial devem passar pelo procedimento de licenciamento ambiental para que operem em consonância com as diretrizes ambientais, entretanto, algumas cidades brasileiras disponibilizaram nos últimos três anos, principalmente, decretos e leis que isentam as microcervejarias do licenciamento por acreditarem que essas não causem danos significativos ao meio ambiente. Neste contexto, este trabalho tem por objetivo investigar a necessidade de licenciamento ambiental de microcervejarias, avaliando os principais aspectos e impactos ambientais desta atividade, por se tratar de uma operação industrial, ainda que em menor escala produtiva. Para atingir o objetivo foram realizadas visitas técnicas em duas microcervejarias e os seus indicadores ambientais foram levantados e comparados com os indicadores de grandes cervejarias, além de dados bibliográficos para o setor. Ainda são abordadas discussões acerca dos temas: licenciamento ambiental, processo produtivo e indicadores ambientais. Este trabalho apresenta os principais aspectos ambientais gerados pela produção artesanal de cervejas, sendo que ao final da pesquisa verificou-se que as microcervejarias, ainda que gerem indicadores de consumo de água, geração de efluentes e resíduos sólidos por litro de cerveja produzida bastante superiores às grandes cervejarias, não apresentam aspectos globais tão significativos comparativamente. Apesar disso, percebe-se que o licenciamento ambiental é um instrumento importante no controle do ambiente em que está inserido o objeto deste estudo, podendo auxiliar especialmente na melhoria dos indicadores ambientais das microcervejarias.Palavras-chave: Indicadores ambientais. Licenciamento ambiental. Microcervejarias.ABSTRACTThe brewery sector has the historical characteristic of being dominated by few companies, however, during the last decades the number of craft breweries composing the market has grown. In Brazil, industrial production activities must pass through the environmental licensing procedure in order to operate according to the environmental guidelines, in the meantime, some Brazilian cities made available mainly in the last three years, decrees and laws that release microbreweries from the need for environmental licensing, since the public agencies believe they do not cause significant damage to the environment. In this context, the purpose of this study is to investigate the need of environmental licensing, evaluating the main aspects and environmental impacts of this activity, since it is an industrial operation, even on a smaller productive scale. To achieve the objective, technical visits were made in two microbreweries and their environmental indicators were collected and compared with the indicators of large breweries, besides bibliographic data of the sector. It is still addressed in this paper a discussion about the themes: environmental licensing, productive process and environmental indicators. This study presents the main environmental aspects generated by the craft production of beer and at the end of the research it was verified that the microbreweries do not present significant environmental impacts compared to large scale production, although they show higher indicators of water consumption, liquid effluents and solid waste generation per liter of beer produced when compared to large breweries. Nevertheless, it is noticed that the environmental licensing is an important instrument in the control of the environment in which the object of this study is inserted and it could mainly promote an improvement of environmental indicators of microbreweries. Keywords: Environmental indicators. Environmental licensing. Microbreweries.
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Pérez Méndez, Irene Marina. "¿Y después del cuplé? Disidencias de género en la cinematografía española: Sara Montiel y Juan Antonio Bardem=¿Y después del cuplé? Gender transgression in Spanish Cinema: Sara Montiel and Juan Antonio Bardem." Cuestiones de género: de la igualdad y la diferencia, no. 16 (June 29, 2021): 44. http://dx.doi.org/10.18002/cg.v0i16.6948.
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<p align="left"><strong>Resumen</strong></p><p>Desde su debut como luminaria del <em>star system</em> español con <em>El último cuplé</em> (1957), la trayectoria cinematográfica de Sara Montiel ha estado marcada por una capacidad contestataria y disidente construida desde el escenario. Injustamente denostada por la crítica y olvidada en los estudios sobre la actriz, la película <em>Varietés </em>(1971) resulta el mejor ejemplo a este respecto. Es en esta colaboración insólita con el cineasta Juan Antonio Bardem donde advertimos las más poderosas reflexiones sobre el estrellato y la vejez, la difícil posición de la mujer artista en el espectro de la feminidad aceptable y aceptada por el franquismo y, en fin, las posibilidades del espectáculo de variedades como aparato disruptor de esta última. </p><p align="left"><strong>Abstract</strong></p><p>Ever since her appearance in <em>El ultimo cuplé</em> (1957), that led to her immediate success in Spanish cinema, Sara Montiel’s acting career has been marked by a rebellious and unorthodox stage persona. Unfairly criticized and forgotten, the film <em>Varietés</em> (1971), directed by Juan Antonio Bardem, turns out to be the best example in this regard. It is indeed through this unusual collaboration that the most compelling afterthoughts are made. Stardom and aging issues, the difficult position of the female star in conveying the Francoist feminine ideal and, finally, the enormous potential variety shows bear when it comes to eventually disrupting this femininity.</p>
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Vázquez Astorga, Mónica. "El Gambrinus Halle (1894), un café-cervecería a la última moda en el centro de Florencia." Imafronte, no. 28 (November 7, 2021): 1–16. http://dx.doi.org/10.6018/imafronte.440791.
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Este trabajo se centra en el estudio del Gambrinus Halle de Florencia (Italia), que fue inaugurado el 29 de noviembre de 1894. Los críticos de la época acogieron con grandes elogios su apertura y destacaron la elegancia de su instalación y sus amplias dimensiones conseguidas gracias al empleo de nuevos materiales y técnicas de construcción. De hecho, fue uno de los cafés-cervecerías más grandes de Europa. Fue fundado por Spirito Giamello en la recién creada piazza Vittorio Emanuele II (actual piazza della Repubblica), que se convirtió en el «salón urbano» preferido para la sociedad burguesa florentina. Este establecimiento, al igual que otros emplazados en este espacio, fue importante como lugar de encuentro y reunión de relevantes personalidades, principalmente de la actualidad artística. Estuvo en funcionamiento hasta comienzos de la década de los veinte de la pasada centuria, momento en el que sus locales fueron destinados a sala cinematográfica y que ahora acogen un Hard Rock café. Con este texto se pretende contribuir al conocimiento y valoración de este centro que fue instituido para rendir culto al legendario Gambrinus. This work focuses on the study of the Gambrinus Halle, which opened in Florence, Italy, on 29 November 1894. The critics of the time praised the opening and emphasised the elegance and spaciousness of the premises, resulting from the use of new building materials and techniques. In fact, the establishment was one of the biggest cafés-beer houses in Europe. The Gambrinus Halle was founded by Spirito Giamello in the newly built piazza Vittorio Emanuele II (nowadays piazza della Repubblica), which became the favourite “urban hall” of the middle-class society of Florence. As other establishments located in the area, it was a major meeting point for relevant figures, specially artists. It remained in business until the 1920s, when its halls were turned into a cinema, and it now houses a Hard Rock café. This work aims at making this establishment, founded to praise the legendary Gambrinus, better known and appreciated.
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Lebiedieva, Nadiia Anatoliivna. "USE OF MOVIE AS A TOOL OF STATE ADMINISTRATION FOR THE AMATEUR ART IN NATIONAL PATRIOTIC PUBLIC INFLUENCE." UKRAINIAN ASSEMBLY OF DOCTORS OF SCIENCES IN PUBLIC ADMINISTRATION 1, no. 12 (February 14, 2018): 167–78. http://dx.doi.org/10.31618/vadnd.v1i12.89.
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The article describes the use of movie means as an instrument of state administration of amateur art in national-patriotic education of the population. The novelty of this article is that amateur film works have been described for the first time that bear the spiritual and educational value and its state management support for the movie in its content. It is determined that the state should influence the processes of education, taking into account future economic and socio-political development, to ensure a stable order of law for the purpose of defense capability. Education should be based on a philosophical theoretical and methodological analysis of the entire educational process and contemporary cultural achievements. The state needs art to save and develop the best domestic traditions, because it is able to bring up the best human qualities, to develop the brightest feelings of the citizens, that is, to promote better social development, not only in Ukraine, but also abroad, enriching the European culture as a whole with its content. Art as a means of cultural communication in the system of public administration plays a leading role and a special place, requires more attention and funding. The support of a national product, created not for the purpose of mass culture, but the preservation of the cultural heritage of Ukraine, is of great value for saving the best traditions characteristic of our people. And the popularization of domestic cinema works at the international level contributes to the artistic enrichment of humanity. Therefore, the victory of samples of our professional and amateur art in various international forums contribute to raising the image of the country, which is very important in today's complex socio-political situation. It is substantiated that the formation of professional and amateur arts in the system of public administration should take place through the process of understanding the aspects of individual and group behavior, system analysis procedures, planning methods, motivation and control, quantitative methods and decision making. Applying the state-management approach to the problem under study, it is proved that a healthy society can not be imagined without art.
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Carter, Matthew. "Personalizing the Apocalypse: Frontier Mythology and Genre Hybridity in „Maggie”." Studia Filmoznawcze 38 (June 21, 2017): 121–35. http://dx.doi.org/10.19195/0860-116x.38.9.
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An independent U.S.-Swiss co-production released by Lionsgate Films and Roadside Attractions, Maggie 2015 is marketed as apost-apocalyptic Horror drama and appears most obviously as azombie-apocalypse film. It soon becomes apparent, however, that Maggie differs markedly from other, more traditional zombie-apocalypse films. It blends recognizable elements from several mainstream genres and, though largely conforming to the well-known conventions of so-called classical realism, echoes some of the alternative narrative strategies traditionally associated with independent American and European cinemas. Although Maggie is rich with interpretive possibilities, this article shall touch on a less overt, some might even say fringe aspect of its narrative; namely, its engagement with a number of aspects of America’s frontier mythology. This might seem astrange connection to make at first since the frontier myth as apopular cultural referent is most often associated with the Hollywood Western, and the Western is clearly not Maggie’s most recognizable narrative schema. However, the myth’s association with the Western, while historically dominant, is far from exclusive and it would also be amistake to deny the myth’s links to other film genres through the related connections that exist between categories of films that, on the surface, seem to have little to do with one another. This is especially so in afilm as “genre confused” as Maggie.To be clear, this article does not claim Maggie to be a Western, at least not in any traditional sense that we might understand it. Rather, it interprets Maggie as apart of amore general trend in contemporary cinema typified by the hybridization of the codes and conventions of numerous genres and subgenres; especially, but not exclusively, those that bring an international perspective to bear on traditional genre categories. In the case of Maggie, this works to undermine audience expectations through aprocess of inversion and deconstruction that reconfigures the erstwhile familiarity of the zombie-apocalypse’s popular-cultural terrain. For, in referencing the Western and its related frontier mythology in the way that it does, Maggie demonstrates the adaptability and continued relevance of both in relation to the complex dynamics of contemporary global film genres. It is within this context that Maggie references the Western and, in so doing, highlights the continuing influence of frontier mythology in contemporary popular culture. PERSONALIZACJA APOKALIPSY — MITOLOGIA POGRANICZA I GATUNKOWA HYBRYDOWOŚĆ W FILMIE MAGGIE HENRY’EGO HOBSONANiezależna amerykańsko-szwajcarska produkcja zrealizowana przez Lionsgate Films i Roadside Attractions — Maggie 2015 — jest reklamowana jako postapokaliptyczny horror, a jawi się w sposób najoczywistszy jako zombie-apokaliptyczny film. Wkrótce stanie się jednak oczywiste, że obraz ten różni się znacząco od innych, bardziej tradycyjnych zombie-apokaliptycznych obrazów. Łączy w sobie rozpoznawalne elementy z wielu gatunków głównego nurtu kina i mimo że przeważnie opiera się na znanych konwencjach tak zwanego klasycznego realizmu, przywołuje pewne alternatywne strategie narracyjne, tradycyjnie identyfikowane z niezależnym amerykańskim i europejskim kinem. Maggie obfituje w liczne możliwości interpretacyjne, jednak niniejszy artykuł koncentruje się na mniej widocznym, można by nawet rzec marginalnym, aspekcie jego struktury. Mianowicie na obecności w nim kilku aspektów mitologii amerykańskiego Pogranicza. Na pierwszy rzut oka może się to wydać dziwnym odniesieniem, ponieważ mit pograniczny jako odwołanie w kulturze popularnej jest najczęściej kojarzony z hollywoodzkim westernem, a sam western nie jest też najbardziej rozpoznawalnym narracyjnym schematem filmu Hobsona. Jednakże skojarzenie mitu z westernem, historycznie dominujące, nie jest przecież wyłączne i byłoby również błędem odmawianie związków zmitem innym filmowym gatunkom przez ich pokrewieństwa, istniejące między kategoriami filmów, które na pozór wydają się mieć niewiele wspólnego. Jest tak szczególnie w przypadku utworu tak „gatunkowo mieszanego” jak Maggie. Dla jasności — w artykule film ten nie jest definiowany jako western, przynajmniej nie w tradycyjny sposób rozumienia gatunku. Jest raczej interpretowany jako część bardziej ogólnego trendu we współczesnym kinie, naznaczonego hybrydyzacją kodów i konwencji wielu gatunków i podgatunków; zwłaszcza, choć nie wyłącznie, tych, które przynoszą międzynarodową perspektywę na podstawie tradycyjnych gatunkowych parametrów. W przypadku Maggie działa to tak, aby podważyć oczekiwania publiczności przez proces inwersji i dekonstrukcji, który przeformułowuje dotychczasową swojskość popkulturowego zombie-apokaliptycznego obszaru. Dlatego że odwołując się do westernu i ideologii Pogranicza w sposób, w jaki czyni to Maggie, film ten demonstruje zdolność adaptowania się i trwającą ważność obu tych fenomenów w relacji do złożonej dynamiki współczesnych globalnych gatunków filmowych. To właśnie w tym kontekście Maggie przywołuje western i — czyniąc to — rzuca światło na trwający wpływ ideologii Pogranicza na współczesną popularną kulturę. Przeł. Kordian Bobowski
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Stynen, Andreas. "De blik gericht op het witte doek. Vier recente studies over filmbeleving in Vlaanderen." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 71, no. 3 (September 11, 2012): 257–74. http://dx.doi.org/10.21825/wt.v71i3.12253.
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Filmhistorici beperkten zich lange tijd tot de studie van inhoudelijke en vormelijke aspecten enerzijds en van regisseurs anderzijds. In de jaren 1990 verbreedde de focus en sindsdien worden ook het publiek en de hele kijkervaring als relevante geschiedkundige thema’s erkend. Dat perceptie vanuit diverse invalshoeken kan worden geanalyseerd, blijkt uit enkele recente publicaties van Vlaamse auteurs. In De verlichte stad (2007), een bundel onder redactie van Daniël Biltereyst en Philippe Meers, staat de geschiedenis van de infrastructuur en (verzuilde) kaders achter het bioscooplandschap centraal. Dat het zinvol is om ook vanuit de programmatie de impact op de toeschouwers te bestuderen, blijkt overtuigend uit Roel Vande Winkel en Ine Van linthouts De Vlaschaard 1943 (2007): deze minutieuze reconstructie van de controversiële verfilming van Stijn Streuvels’ grote doorbraakroman, in volle oorlogstijd, gaat uitvoerig in op het verrassende onthaal dat deze Duitse productie te beurt viel. Filmen voor Vlaanderen (2008), van Biltereyst en Vande Winkel, herinnert eraan hoe speelfilms lange tijd werden vertoond als deel van een ruimer programma, dat ook actualiteit en zelfs propaganda omvatte. Clemens De Landtsheer, de eerste secretaris van het IJzerbedevaartcomité, wordt voor het voetlicht geplaatst als één van de belangrijkste promotoren van de funderingsmythe van de Vlaamse beweging. De zeven filosofische gesprekken die Johan Swinnen voor Reflecties (2009) voerde, maken tot slot duidelijk dat filmprojectie niet enkel historische vragen oproept.________Eyes focused on the white screen. Four recent studies about film experience in Flanders.For a long time, film historians limited their studies to the content and formal aspects of film on the one hand and film directors on the other hand. During the 1990’s, the area of interest was widened and since then the public and the total viewing experience have also been recognized as relevant historical themes. Some recent publications by Flemish authors demonstrate that perception may be analysed from various perspectives. The main topic of De verlichte stad (The illuminated city) (2007), an anthology edited by Daniël Biltereyst and Philippe Meers, is the history of the infrastructure and the pillarisation behind the cinema landscape. De Vlaschaard (flax grower)1943 (2007) by Roel Vande Winkel and Ine Van linthout demonstrate convincingly that it is meaningful to study the impact on the audience from the perspective of the programming as well. This precise reconstruction of the controversial adaptation of Stijn Streuvel’s main breakthrough novel for the screen, in the middle of wartime, looks in detail at the surprising welcome enjoyed by this German production. Filming for Flanders (2008), by Biltereyst and Vande Winkel, reminds us how for a long time feature films were shown as part of a larger programme that also included current events and even propaganda. Clemens De Landtsheer, the first secretary of the IJzer Pilgrimage Committee, is brought into the limelight as one of the most important promoters of the foundation myth of the Flemish movement. Finally, the seven philosophical conversations, which Johan Swinnen engaged in for Reflecties (reflections) (2009), demonstrate that film projections do not only evoke historical questions.
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Horelova, V. S. "The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 130–47. http://dx.doi.org/10.34064/khnum2-17.09.
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Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The tendency to the study of the forgotten names would help to bring back to their proper place the classics of Ukrainian cinematography. In the national scientific circles, there is an interest in the revival of forgotten names of cultural figures, and theater and filmmakers, in particular. Nevertheless, creativity of some Kharkiv actors, among them, Polina Kumanchenko and Lidia Krynytska, undeservedly deprived of attention in the scientific environment. The object of this research is the creativity of representatives of the Kharkiv acting school – Polina Kumanchenko and Lidiya Krynytska. The aim of the author is to study the performing manner of the actresses, to identify the peculiar facets of their playing, and, as a result, the certain traditions that are inherent the Kharkiv local artistic environment. The interpretation of the image of a mother in the performance of the mentioned actors is the subject of studying. Methods of analysis, synthesis, classification are the basis of this study and used for the scientific validity of the findings. We used the method of comparison in the considering of the mother images created by Kumanchenko and Krynytska. Research results. As the key in the cultural aspect, should be considered the fact that the image of the mother in Ukrainian mentality is iconic, associated with the image of the Earth, since the essence of both is the function of the “giver of life”, fertility. The worldview of Maria, the personage of P. Kumanchenko, is fixated on owning the land, because thanks to her, a person exists and continues his family. Like her ancestors, Maria is going to become a link in the further transfer of land to her descendants, passing to them the “genetic code” of love of Ukrainian peasants for the Earth. She is expecting a second child, and therefore, through her actions, she seeks to provide her children with stability, which is possible only with land. The actress focuses the attention of the viewer on expressive gestures, sudden movements to emphasize the active behavior of her heroine; at the same time, the extremely expressive regard of P. Kumanchenko, shown in close-up, convey the true thoughts and feelings of Maria, whose soul inhabits somewhere in her own, unreal world. In the first of the films of the trilogy by M. Makarenko (director) –“Human’s blood is not water”, – the actor’s decision of P. Kumanchenko presents a presentiment of happiness and stability that arises in her heroine’s soul against the background of her everyday suffering life – just like the Earth awaits spring blossoming after a long winter. Later we observe the changes that have occurred in the character of Maria along with her motherhood and confidence in the future. The actress gives her heroine a new external expressiveness: smooth movements, a gentle mysterious smile, elusive tenderness. The second part of the trilogy (“Dmytro Horytsvit”), presents P. Kumanchenko in a small episode. We see her in the light national costume, with tragic wringed hands, against the background of the burning home, where her child remained. The episode can be interpreted as an allegory: a mockery of fertile land devastated by fires, wars, destruction. However, just as a new cycle is needed for a ravaged Earth to bloom again, so for Maria the salvation of her daughter becomes the impetus for a new rebirth. The main idea of the film is embedded in this episode – the eternal pain of the Ukrainian land and its eternal revival. Based on the analysis of the role of Maria in the interpretation of P. Kumanchenko, we can talk about the embodiment in the mother image the idea of cyclicity of nature and life, coming from the ancient cults of the Earth. Thus, the influence of mythopoetics traced in the images created by the actresses, due to their symbolic similarity with the image of the mythological Mother Earth. In the film “Lymerivna” (directed by V. Lapoknysh) the image of a mother was created by actress L. Krynytska, which played Lymerykha – the mother of the main heroine. This is a passive woman, broken by life circumstances, who is going with the stream and is not able to deal with everyday problems. It would seem that both, Maria and Lymerykha, are united by a love for children and a desire to give them happiness. However, each of them has its own strategy of behavior. Unlike Maria, Lymerykha made tears the main tool on the way to her aim – to break the will of her daughter. It was her tears pushed Lymerykha’s daughter to a tragic death. The game of L. Krynitska outlines the “two-faced” path of the heroine’s behavior, reveals the “white” and “black” sides of her nature. That is, the actor’s task of L. Krynitska was to embody the image of a person with a “double bottom”. The manner of performing of this role may be partially explained by the etymology of the surname “Lymar”, which the heroine received when she got married. Lymar is a manufacturer, which make the harness for horses. Such a sign surname symbolizes her life – “horse harnessing”, a yoke that Lymerykha is afraid to throw off, because she does not know how to bear responsibility for her own destiny. There are also unifying links between the heroines of P. Kumanchenko and L. Krynytska: both manipulate by their motherhood. The cycles in the life events of both heroines are also clearly outlined. In Maria’s case, it is association with modifications in the state of the Earth due to natural changes in the seasons or terrible destructions, because of war or natural disasters. For Lymerykha, the cyclic existence is characterized, limited by the inability to overcome slavish psychology – to throw off the yoke, the “sword of Damocles,” which dominates her. In one of the scenes, the scenery symbolically emphasizes the essence of her being: a windmill, whose wings are constantly spinning. P. Kumanchenko and L. Krynytska are the Kharkiv actresses of the Drama Theater named after T. G. Shevchenko, and the influence of the actor’s system of his outstanding director Les Kurbas on the performing style of both cannot be overlooked. In the acting of the performers, the use of the “laws of Kurbas” is clearly traced: “the law of thrift”, “the law of fixation”, “the law of light-andshade”, etc. Conclusions. We analyzed both the differences and the unifying features in the interpretation of the image of the mother by Kharkov actresses. In the images created by P. Kumanchenko and L. Krynytska there is a relationship with the mythopoetic worldview. Тhanks to a number of artistic and meaningful associations, we can talk about the embodiment in the image of a woman-mother of the symbolic hypostases of Mother-Earth and the idea of the cyclical nature of life, which comes from ancient agricultural cults. The work with imaginary symbolism (a horse harness appears as a symbol of the enslavement of Women-Mother Earth) take place, as and a complete organics embodiment of the mythopoietic aspect inherent the Kharkiv acting school (Les Kurbas’s aesthetics) and, in general, the Ukrainian drama and cinema (A. Dovzhenko). A deeper analysis of various aspects of the performing work of Kharkiv actors, in particular, searching for the traditions in the actor’s game of Kharkovians, as well as more detailed studying of Les Kurbas’s methodological influence makes up the prospects of our study. The specifics of actor’s art of the Kharkiv school can serve as an example to follow in the training of actors and directors.